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Writer-director Nikkhil Advani discusses the process of adapting Israeli drama Hatufim (Prisoners of War), which became Homeland in the US, for Indian audiences.

When it comes to successful US remakes of foreign-language dramas, there aren’t many bigger hits than Homeland.

Based on Hatufim, the Israeli series about three soldiers who return home after 17 years in captivity, the story was transplanted to Washington DC as CIA agent Carrie Matheson (Claire Danes) investigated whether returning prisoner of war Nicholas Brody (Damien Lewis) was planning a terrorist attack on American soil.

Currently in its sixth season, the series has been renewed by US premium cable network Showtime through to season eight, which co-creator Alex Gansa has reportedly said will be the series finale.

Hatufim has now spawned another remake, this time in India, following a deal with Hatufim distributor Keshet International. POW Bandi Yuddh Ke (Prisoners of War India) follows two Indian soldiers who were captured 17 years previously while on a mission with their unit during the Kargil conflict in Kashmir. They return home and must re-adjust to life with their families, while a secret investigation seeks to uncover the truth about their capture.

The series – produced by filmmaker Nikkhil Advani’s Emmay Entertainment and also distributed by Keshet International – debuted on India’s Star Plus in November 2016, with seasons one and two running to 110 episodes. It concluded last month.

Writer-director Advani, who oversaw the project, tells DQ how the drama arrived in India, the approach the writers took and the similarities and differences between POW Bandi Yuddh Ke and the original series on which it was based.

Nikkhil Advani

How was Prisoners of War brought to India?
Nikkhil Advani: Star Plus has been a pioneer and always sets the benchmark in bringing some of the most thought-provoking shows and progressive characters to the homes of Indian families. When I saw the show [Hatufim] I was totally blown away. Although it’s called Prisoners of War and it tells the story of prisoners that have returned from captivity, it also deals with the wives, the children, the people who have been living in limbo unable to move forward with their lives as they are waiting for closure and clarity about their lost loved ones. In a sense, the people left behind are also prisoners of the same war.

Moreover, it was the channel’s initiative to bring this show to its audience before they approached me to work on it. The story strikes a chord emotionally with every Indian, and with a platform like Star Plus, it was possible to ensure that the story reached the masses.

How was the story developed for the network Star Plus?
In terms of sparking the spirit of patriotism and keeping the audience on a razor’s edge, it’s not different from Hatufim. In every detail it is parallel to its contemporaries in international markets as these emotions transcend geographies.

What is starkly different [in the Indian version of Hatufim] is the characters and the relationship dynamics of Sartaj and Harleen, and Imaan and Nazneen. The role that the women play in these relationships and their spirit is representative of the strength of Indian woman. The personal conflicts and relationship dynamics have been created in line with the Indian ethos. The cultural unit of a family and their imprisonment is what makes you wonder, “Who is the real POW?” The emotions were kept so that it’s relatable to every Indian family and uniquely Indian.

The writing team took care to recreate the details of army life

How has the original Israeli version influenced the Indian version?
Hatufim is a legendary show in Israel, so the pressure of making it work and adapting it correctly to everyone’s satisfaction was paramount in my mind. The reaction that Gideon Raff [the creator of Hatufim] had when he saw the pilot episode gave me a lot of confidence.

Of course, we have a historical enmity with our neighbour Pakistan, which echoes the Israel-Lebanon/Palestine conflict. As a result, the adaptation became almost too easy to do. It’s the cultural differences and the role of the women that has been a challenge, but I think my writing team has managed to pull that off. Like I said earlier, the women and the children have also been prisoners of the same war.

What elements did you introduce to make the show more appealing for Indian viewers?
Human emotions and drama. The show is beautifully entwined between human drama and the spirit of patriotism. Television gives you a platform to explore the depths and complexities of human emotions and relationships. The journey of these characters and the emotional graph, given the thriller backdrop, will have high viewer involvement and have to be told with time.

The series is fast-paced and has a logical, finite ending and hence the story spans a period of five months only. A large-scale, high-octane family drama with a thriller backdrop, the story takes the viewers through the journey of the lives of the two couples, Harleen and Sartaj, and Nazneen and Imaan, and the aftermath of the return of the war heroes following 17 years in captivity.

The female characters are key to the POW Bandi Yuddh Ke story

How would you describe the writing process?
The writing team has been constantly working to compile details and create a real-life experience for actors as well as viewers. Right from the medals on the army uniforms to the coded and crisp language used by the agents, the costumes while at war, the hairstyles, the shoes and other props, all have been aligned accurately to allow the viewers to travel into the world of Kargil in every episode.

The cast went through various workshops and readings. The male actors had to train with guns and understand the nuances of fight sequences. Manish Chaudhuri, who plays a sceptic in the show and has worked with me on [movie] D-Day, helped the team prepare for their roles.

We carefully based the story in North India, showcasing the culture and viewpoint of the rural and urban in the locations. To retain the authenticity and flavour of real locations, we have shot across multiple cities including Delhi, Karnal, Mumbai and Patiala.

POW Bandi Yuddh Ke follows two Indian soldiers who were captured for 17 years

Who are the lead cast members and what do they bring to the series?
We have Purab Kohli playing Sartaj Singh, Satyadeep Misra playing Imaan Khan, Sandhya Mridul playing Nazneen Khan, Amrita Puri as Harleen Singh and Manish Choudhari as Vikram Singh – the lead roles in the show.

They bring their immense experience in theatre and movies, their attitude of getting into the skin of the character and their sincerity and hard work towards giving excellent performances. The two leading ladies, by the end of the show, were able to cry at the drop of a hat and their emotions towards the characters stayed with them even after the shoot was over.

These actors understood the milieu and the ‘zone’ and helped me to push the show to the next level as a director. Everyone we have cast has been applauded and received accolades for sterling performances in the films they have worked on.

Where was the series filmed and how were locations used in the script?
Delhi, Patiala, Karnal and Kamalistan Studio in Mumbai. All these cities are in India.

What were the biggest challenges during production?
The only challenge I had in mind was to do justice to Hatufim and my own series, POW Bandi Yuddh ke – to ensure the sentiment and essence of the show maintained the message that we wanted to take to every Indian.

What do you hope viewers take away from the series?
I want the audiences to be moved and identify with the emotions that the characters are going through, and at the same time be placed on a razor’s edge. I want the audience to be yearning for the next day, the next episode and for everyone associated with the show to hold their head high and say we did something special.

What are you working on next?
Emmay Entertainment is working on two other productions, the films Lucknow Central and Oonchaiyaan. Bazaar [a movie about the world of stock markets] will kick off this year.

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Scripted formats show writers’ double vision

Hardly a week goes by without some new development on the scripted format front. So here we explore 12 of the shows that have been adapted – successfully and unsuccessfully – for the US, and the writing teams behind them.

Where images have been included, the original series is on the left and its adaptation on the right.

Broadchurch-GracepointBroadchurch was a big hit for ITV in the UK when season one aired in 2013. It then sold around the world and was adapted by Fox in the US as Gracepoint, with the same lead actor (David Tennant). The UK version, which then had a moderately successful second season, was created and written by Chris Chibnall – who is now working on a third and final run before taking over on the BBC’s Doctor Who.

The 10-part US version was set up by Chibnall before being handed over to Anya Epstein and Dan Futterman, who wrote all of the remaining episodes except for number six (Jason Kim). Gracepoint was pretty well reviewed by critics and sold to other English-speaking markets. But it was not renewed after failing to secure a sizeable audience (average ratings were around 3.5 to four million).

Collision, created by UK writer Anthony Horowitz (Foyle’s War), attracted an audience of seven million when it aired on ITV in the UK during 2009. In November last year it was picked up by NBC as a 10-part series. Interestingly, Horowitz will be the showrunner for the US version, with CSI exec producer Carol Mendelsohn on board as partner. Mendelsohn is also exec producer of Game of Silence (see below), suggesting she is now regarded as a safe pair of hands for format adaptations after her many years working on CSI.

The original version of Collision comprised five episodes but Horowitz says he has no concerns about the project being extended because he believes the storyline will benefit from the extra episodes. Sometimes formats suffer from being stretched in this way.

Forbrydelsen-KillingForbrydelsen (The Killing) is a Danish series (DR/ZDF Enterprises) created by Soren Sveistrup. Active across three seasons, it became an international hit and made its star Sofie Gråbøl a household name. It was adapted by AMC in 2011 and has so far run to four seasons – despite being cancelled a couple of times along the way. It was saved by Netflix, which came on board as a partner for season three and then took over the show in its entirety for season four.

The US version was developed by Veena Sud, whose previous big credit was CBS procedural Cold Case. Sud shared writing duties with a large team, including the likes of Nic Pizzolatto (True Detective) and Jeremy Doner (Damages). She stayed with the show through season four, by which time writing duties were shared with Dan Nowak, Sean Whitesell, Nicole Yorkin and Dawn Prestwich (the latter two a writing team whose credits include Chicago Hope, FlashForward and The Education of Max Bickford).

Hatufim-HomelandHatufim, aka Prisoners of War, is perhaps the most celebrated example of a successful scripted format. Created in Israel by Gideon Raff, it was adapted as Homeland for Showtime in the US by Howard Gordon and Alex Gansa. Five seasons of the US show have aired so far, with a sixth ordered in December 2015.

As is common with US series, there is a big team involved in writing a show like Homeland. The latest season of 12 episodes involved 11 writers altogether. Key names include Chip Johannessen, who has been involved with the show since the start. A new name on the season six team sheet was David Fury, who has worked on an array of titles ranging from Buffy the Vampire Slayer to Hannibal.

Janus is proof that US networks are looking further afield in search of great ideas. A crime story originated in Austria, it was picked up by ABC last autumn. Kevin O’Hare, who has written pilots for ABC and Syfy, is adapting the thriller and writing the pilot. The original version was written by Jacob Groll and Sarah Wassermair.

Prior to this seven-part serial, Groll was best known for documentary The Sound of Hollywood, while Wassermair’s credits include musicals for children’s theatre. However, the pair have also been working together on ORF’s popular crime series Soko Donau.

JanetheVirginJuana La Virgen is a Venezuelan telenovela that was adapted for The CW network in the US as Jane the Virgin. The original was created by Perla Farias and the US version by Jennie Snyder Urman, whose writing efforts are supported by a large team (the show has 22 episodes per season).

As evident from the titles above, a lot of adaptations don’t get further than the end of their first season. So the fact that this one has just been greenlit for a third run is a notable achievement. Although season two ratings are down compared with season one, the show has settled into a stable 0.9 to one million range.

Revenants-ReturnedLes Revenants was hailed as evidence that French TV drama had become a force to be reckoned with. A hit for Canal+ in 2012, the format was snapped up by A&E in the US – where it was remade as The Returned. The French version (based on a film) was created by Fabrice Gobert, who then wrote the screenplay for season one with Emmanuel Carrere and Fabien Adda (with writing credits also going to Camille Fontaine and Nathalie Saugeon).

A second season was aired at the end of 2015, with Audrey Fouche joining Gobert and Adda as a key writer (also credited on one episode was Coline Abert). Despite being led by showrunner Carlton Cuse alongside Raelle Tucker (True Blood), the US version failed to secure a second-season renewal following lacklustre ratings.

Øyevitne is a Norwegian crime thriller that is being adapted as Eyewitness for USA Network. In the US it has received a 10-episode, straight-to-series order. The US version comes from Shades of Blue creator Adi Hasak, who wrote it and will serve as showrunner. The original series creator is Jarl Emsell Larsen, who will executive produce the US version.

The series explores a grisly crime from the point of view of the eyewitnesses, two boys involved in a clandestine gay affair. While the Nordics have been getting a lot of attention in recent times, this is actually the first Norwegian scripted show to be adapted for the US.

Penoza-RedWidowPenoza is a popular Dutch drama created by Pieter Bart Korthuis and Diederik van Rooijen for KRO-NCRV. The show has run for four seasons (2010-2015), with a fifth, commissioned in February, set to air in September 2017. The format was acquired by ABC in the US in 2012 and ran for one season during 2013 with the name Red Widow.

The US version performed poorly and wasn’t renewed, dropping from 7.1 million at the start of its run to 3.47 million at the end. That was a rare blip for writer Melissa Rosenberg, whose credits include the entire Twilight saga of movies, Showtime’s Dexter and Netflix hit series Jessica Jones.

RakeRake is an Australian television series that centres on a brilliant but self-destructive lawyer. It was created by Peter Duncan, who then shared writing duties with Andrew Knight across the first three series. A fourth season will be broadcast this year on ABC Australia.

The show was adapted for Fox in the US in 2013, with Peter Duncan at the helm of a writing team of five. However, the show didn’t rate well and was moved around the schedule before being cancelled.

ShamelessShameless: Company Pictures produced Shameless for Channel 4 in the UK before it was picked up as a format by premium pay TV channel Showtime. The UK version was the brainchild of Paul Abbott, who also wrote a number of episodes. Other high-profile names involved included Danny Brocklehurst, who is now enjoying some success with Sky1’s The Five. Another prominent writer among many was Ed McCardie (Spotless).

Abbott was involved in setting up the US version, which may explain why the show has been a success, with six seasons already being aired. Key names in terms of transitioning the show included John Wells (ER, The West Wing) and Nancy Pimental – both of whom are still heavily involved, alongside a team of five writers for the latest season. Interestingly, the last season of the UK version also used a team approach, with eight writers penning 14 episodes.

Suskunlar-GameofSilenceSuskunlar is a Turkish drama that first aired on Show TV in 2012 and was then sold in its completed form to 30 countries. It was written by Pinar Bulut, who has also written a number of projects with her husband Kerem Deren, including fellow international hit Ezel.

The show was picked up by NBC in the US and has just started airing under the title Game of Silence. The pilot for the US version was written by David Hudgins, whose credits include Everwood and Parenthood. The second episode was penned by Wendy West (The Blacklist and Dexter). Hudgins has expressed a desire to take the show on into a second season, but early ratings suggest that it will need to do better for that to happen. After attracting 6.4 million viewers for episode one, it dropped 39% to 3.9 million for episode two.

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Israel’s international impact

Fauda – 'so popular that its actors can’t walk down the street'
Fauda – ‘so popular that its actors can’t walk down the street’

Israeli scripted series first had a significant impact on the global stage towards the end of the last decade, when Hot Broadcasting’s BeTipul was reinvented for the US market as In Treatment. Launched on HBO in 2008, the US version of the show ran for three series (106 episodes) and focused on the personal and professional life of a psychologist played by Gabriel Byrne.

The next Israeli scripted show to break into the US was Ramzor, a 30-something comedy from Keshet that was remade as Traffic Light for Fox. This show only ran for one season, in 2011, but provided further conformation that Israeli was a country worth scouting.

The big breakthrough came later that year when the Keshet show Hatufim, which tells the story of two Israeli soldiers who are released after 17 years in captivity, was reinvented as Homeland for Showtime. In English, ‘hatufim’ means ‘abductees,’ though the Israeli show is generally referred to internationally as Prisoners of War (except in the US). Homeland has just entered production on a fifth series and is regarded as one of the standout scripted series of the last five years, mentioned in the same breadth as Mad Men, Breaking Bad and The Walking Dead.

Echoing the situation with high-profile Latin American telenovelas like Ugly Betty and Nordic Noir series like The Bridge, the success of Homeland in the US has turned the Homeland/Prisoners of War franchise into an industry in its own right. Both versions are available to the international market as completed shows. And Prisoners of War is also available as a format, having already sold to Russia, Colombia, Mexico, Turkey and South Korea.

Homeland is the US version of Keshet's Hatufim
Homeland is the US version of Keshet’s Hatufim

Homeland injected a new level of intensity into the search for adaptable Israeli shows. For example, in the case of Bnei Aruba, CBS in the US struck a deal that allowed it to develop a US version of the show in parallel with the creation of an Israeli version for Channel 10. Called Hostages, the US version actually aired three weeks before the original. Like with Homeland, this also helped kickstart international interest in the original Hebrew show, which sold to BBC4 and Canal+.

Of course, not all Israeli series have been hits in the US. Espionage drama Ta Gordin (The Gordin Cell), which aired on Yes, was a hit on home soil but didn’t make it to the end of the first season when NBC remade it as Allegiance. Launched Stateside in February 2015, it was axed five episodes later due to low ratings. But even this result wasn’t a total negative for the show – because it gave it international exposure. Korean company IMTV, for example, elected to produce a version for its highly competitive market.

When Israelis are asked to analyse why their shows have generated so much interest, they cite three main factors. First, they explain, Israeli audiences are highly critical and get bored easily – which means there is a high turnover of original stories and a constant quest for fresh insight. Second, Israel is a small country operating on tight budgets. So if a show can work in this environment, it will have no problem once it secures a bigger budget. And finally, there is an authenticity and honesty to Israeli scripted shows that comes from living on the front line.

The question, of course, is whether they can keep up the momentum. So what is coming down the line that might catch the attention of the international market? Well, one new title that has already caught the attention of the US market is Beit HaMishalot, a Channel 1 series about a psychiatrist who makes clients’ wishes come true. Presumably buoyed by its success with In Treatment, HBO is remaking the show as House of Wishes.

Keshet, meanwhile, has secured international interest in Pilpelim Zehubim, a poignant but humorous story about a family that learns to adapt after discovering their five-year-old son is autistic. Critically acclaimed in Israel, the show is now being remade in the UK under the title The A Word. The six-part drama series will air on BBC1 and will be coproduced by Fifty Fathoms Productions, Tiger Aspect Productions and Keshet’s UK arm.

HBO's In Treatment, adapted from Israel's BeTipul
HBO’s In Treatment, adapted from Israel’s BeTipul

Brazil is also riding the Israeli wave. In November 2014, cable channel TNT Brazil announced plans to remake Allenby. Based on a novel by Gadi Taub and originally produced for Channel 10 in 2012, this series is a sex industry crime drama that follows the story of a nightclub on Tel Aviv’s Allenby Street and one of the strippers working there. Explaining why TNT picked up the show, Rogério Gallo, movies and series VP for Turner International Brazil, said: “The similarities between Allenby Street in Israel and Rua Augusta (in Sao Paulo, Brazil) are magnificent; both are a part of each city’s history and the centre of a sizzling nightlife. These are great ingredients for a remarkable television show.”

The Israeli press has also started to get excited by Fauda, a new show from co-creators Avi Issacharoff and Lior Raz that has only recently finished airing. Broadcast by cable platform Yes, Fauda (Arabic for ‘chaos’) is a typically Israeli no-holds-barred series about a group of undercover operatives trying to capture a notorious Hamas terrorist. Commenting on the show, The Times of Israel said: “It’s been just three months since Fauda brought the chaos of the West Bank to Yes viewers, but the show has become so popular that its actors can’t walk down the street without being stopped by fans.”

The series stands out because it makes a genuine effort to be even-handed about the Israel/Palestine conflict, casting Arabic actors and creating storylines that deal with the pain of being on the receiving end of Israel’s military might. With a second series on the way and US interest, the Times of Israel said Fauda “has been lauded for its realism, its extensive use of Arabic and the empathy viewers are forced to have for the Hamas characters.”

We’ll finish this week’s column by crossing the border into Egypt, which, like the rest of the Muslim world, is about to embark on Ramadan (from June 18). For those unfamiliar with Muslim culture, Ramadan is an important holy period that is marked out by fasting during daylight. Ramadan is also important in TV terms, because countries like Egypt spend large sums of money producing TV dramas to entertain people during Ramadan.

Allenby is being remade in Brazil
Allenby is being remade in Brazil

One show that catches the eye this year is Haret al-Yahood (The Jewish Quarter). Set in 1952 to 1956, it tells the story of Ali, an Egyptian army officer, and Laila, a Jewish woman, who fall in love. Their romance is played out against the backdrop of rising Egyptian nationalism and tensions over the creation of Israel.

Speaking to local Egyptian media outlet Al-Masry Al-Youm, series writer Medhat al-Adl, a respected figure within the Egyptian creative community, said he wanted to depict a cosmopolitan Egypt in which all religions and languages coexist. “(The series) talks about how Egypt once coexisted with all religions and embraced people from all over the world because it was a cosmopolitan country. Egypt was great then. The Jews were of Egypt’s fabric. They were Egyptians. They were traders who lived with Muslims and they contributed to the Egyptian economy. The stereotypical portrayal of Jews in Egyptian films is that they are penny-pinchers (but) they were the best merchants of Egypt.”

Here’s hoping that Fauda and Haret al-Yahood both prove successful, because they are an antidote to the kind of extremism and bigotry that characterises 21st century politics and media.

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